Artist / creative engineer / Parsons MFA

Sound made physical.

I translate spectrograms—the images machines use to recognize music—into objects you can touch.

Software becomes relief. Relief becomes mold. Mold becomes object.

Study SS-MAP-000time x frequency x amplitudepre-production relief / physical work in progress

Music is intimate.

Platforms make it abstract.

I make it material again.

Material systemsOne sound, three states of permanence.

cast cotton relief

Paper

shadow / silence / archive

Quiet, white, almost not there. The most fragile translation.

pigment and depth

Resin

light / suspension / color

A luminous object where amplitude controls opacity and frequency holds color.

patina and scan

Bronze

weight / fire / permanence

The song becomes heavy, patinated, and damaged by its own return.

PlacementBuilt for art, design, architecture, and archives.

Collector studies

12–24 in

editioned paper and resin works

Primary works

24–60 in

unique reliefs for gallery placement

Architectural commissions

6–12 ft

site-specific wall systems for sound-oriented spaces

Institutional projects

variable

archives, public art, research, and museum contexts

IndexCurrent and historical work.

SS-001

Through Fire: Let It Be

2026in developmentcultural recording / primary work

SS-022

Synesthetic Liberation

2022Parsons MFA thesispunch needle spectrogram archive

SS-101

Cast Paper Studies

2026prototype editionquiet relief / framed object

SS-201

Resin Light Studies

2026collector studypigment / translucency / light

Jason Brill is an artist and creative engineer working with sound, software, and material systems. His Parsons MFA thesis, Synesthetic Liberation, used punch-needle embroidery and spectrogram analysis to ask whether music could be felt rather than only heard.

Synesthetic Studio extends that inquiry into durable interfaces: cast reliefs, resin light works, bronze studies, and scan-readable sound objects built for collectors, galleries, architecture, and archives.